Cynosemma: A Dirge From the Dog’s Tomb 

Reviewed by Lara J. Altunian 
Overtone Industries and By the Souls of Our Feet 
Closed 

RECOMMENDED 

The post-Weinstein era of theater has ushered in a slew of women-centered productions, many of which are necessary explorations of female societal roles, but which also run the risk of venturing into repetitive territory. Megan Breen and O-Lan Jones’ workshop of their upcoming play about the ancient Trojan queen, “ripped” (as the ensemble calls it) from Euripides’ tragedy Hecuba, overcomes this hurdle by retelling the story in a way that breathes new life into an ancient tale while still making it feel relevant to today’s audiences. Though the subject is familiar, Cynosemma’s staging and creative use of props and music makes it an entertaining piece to look forward to in its entirely come 2019.

Divided into three seamless “stations,” this first part takes on the form of a rudimentary opera invigorated by dancing (choreographed by Kristin Condon), recitations (libretto by Breen) and live percussion-based musical performances (composed by Jones). All of this is inspired by the same eight-person cast. The play is more inspired by – rather than taken strictly from – the original source. However, Cynosemma still keeps the original characters and their dynamic intact.

The first station creates an entirely new addendum to Euripides’ work, which features Hecuba (Jones) and her daughters/fellow women as personifications of the creators of the world. Their slow, rhythmic singing, rocking dances, and incantation-like dialogue form an ode to motherhood. Pictures of full moons are etched onto the tar drums they play when sitting in a half-circle. A large teal sheet of chiffon, which evolves from a scrim into ocean waves, completes the setup.

After such compelling feminine imagery, the second station shifts its focus to the theme of misogyny once two men (Abe Martell and MJ Silva) led by Odysseus (Michael Harris) enter into the mix. Much like Euripides’ version, the trio make the women into their sex slaves with intimidating stomps and chest pounding. This direct contrast to the Hecuba’s tribe’s flowing turns and agility shows off the men’s strength and intimidates the women into corners. The use of metallic paint to physically mark the women’s faces and bodies further emphasizes the division between the two genders.

The Greek play’s ancient setting and well-known plot set the story up to be an extreme portrayal of chauvinism and black-and-white gender roles. Though the music, movement, and dialogue are enchanting, the plot’s predictability bogs down the piece a bit until the third station. Once a sacrifice is promised in exchange for the rest of the women’s freedom, a larger conversation about grief, choice, and community lead to empowerment and help create some of the most memorable moments and gorgeous scenes within the production. Among them are excellent singing solos from the princess Polyxena (Lauren Han) and the transformation of the chiffon into butterfly wings that engulf the entire, tiered stage. The third station also contains some of the best lines from Breen’s libretto, namely: “I am not prey. I am a predator of pity,” which perfectly embodies the overall message of the piece.

Though the play starts off by accommodating expected tropes seen in almost every women’s movement–centered piece, its ability to present them through a fresh reinterpretation that pays tribute to its traditional, bare-bones theatrical roots makes it a promising introduction. Especially considering its ability to stand alone as a self-contained story.

Son of Semele Theater, 3301 Beverly Blvd., Silver Lake; Closed. https://www.sonofsemele.org/. Running time: 45 minutes with no intermission.